The duo uses contact microphones and live processing to place the listener inside the resonance of Persian classical instruments—without turning tradition and electronics into opposites.
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The duo uses contact microphones and live processing to place the listener inside the resonance of Persian classical instruments—without turning tradition and electronics into opposites.
On “been thinking bout confession,” the former Giant Peach member shifts from guitar to a century-old piano and lets the songs bend, break, and whisper.
Spanning 140 minutes and three nations of historic pipe organs, Davachi’s latest album treats listening as a discipline rather than a passive act.
The Iranian sound artist’s new four-part electroacoustic work preserves the discipline of earlier metaphysical albums but turns its focus to crimes against humanity.
The record blends cassette-warped guitar, birdsong, synths, zither, and Rhodes into an ambient language that refuses easy placement.
The cross-continental duo of Johanes Pribadi and Shigeru Ishihara returns with a collaborative album built from Indonesian and Japanese percussion, industrial texture, and hard rhythm.
Taja Cheek’s latest album as L’Rain is a meticulously random collage that rewards attention, not patience.
The Irish composer’s first work for ensemble documents a single day in an ecosystem stripped by industry, making a quiet but urgent case for listening as a form of witness.
The Russian-born, Berlin-based producer lets his guard down on a new self-released EP, trading sharp electronics for acoustic drift and fractured rhythms.
The Italian composer’s debut album, recorded with analogue and modular synthesis in the Tuscan Apennines, treats personal loss not as a narrative to be resolved but as a landscape to inhabit.
